House of Stories: a project by Paula Rego and Souto Moura

Casa das Histórias: Um projeto de Paula Rego e Souto Moura

Souto Moura andPaula Rego
In 2006, Paula Rego chose Cascais for the construction of his House of Stories, a project ofSouto de Moura, which occupies the terrain of the parade, specifically the area of ​​the former Sporting Clube de Cascais Tennis Courts, taking advantage of this clearing as an intervention space. ForSouto de Moura It was important to preserve the pre-existing vegetation as much as possible:“We undoubtedly chose the best land, located next to the Mar Museum, in the area of ​​the old stop. This terrain with bright vegetation was a large emptiness, formed by old tennis courts from the Sporting Clube de Cascais. ” (Capucho, 2009, p. 11)

Paula Rego | Magazine | P55.art

Between three possible places for the implementation of this museum, all of them in Cascais,Souto de Moura He chose, as mentioned, the land neighboring the Sea Museum. This terrain and its characteristics determined the first lines of the project, such as existing trees (eucalyptus, almond, and especially pine trees), as the project had to be closer to the vegetation than initially intended, due to the reduced area of ​​the place .The choice of architect Eduardo Souto de Moura, it was the responsibility of Paula Rego, which from the beginning wished this was the architect for his home of stories. Elected the village of Cascais to receive the new museum, is alreadySouto de Moura that chooses the land for the construction of this project.(...) As for the museumPaula Rego, I was fortunate to have been chosen by the painter and the House had made two interesting sites available to build it. (...) We undoubtedly chose the best terrain. (Capucho, 2009, p. 11)Souto de Moura It elected the old stop club for the implementation of the museum, specifically in the area that covered the former Sporting Club Tennis Courts, enabling its integration into the surrounding space but respecting pre-existence, something that is a constant concern Throughout Eduardo's careerSouto de Moura. Indeed, the dimensions of the building - which the architect sought to approach the buildings around - its integration in place, resulting in a building surrounded by vegetation, a housing logic (despite the existence of pyramids, with which the architect sought to highlight the Building), the choice of materials (in which the Cascais Azulino) and even the choice of color translate this concern.

Paula Rego | Magazine | P55.art

Assuming the terrain and pre-existing trees as fundamental elements, the different volumes that make up the building configure four wings, subdivided into sequential rooms, arranged around a higher central volume, which corresponds to the temporary exhibition room. The interior, in neutral tones, paved the Cascais Azuline marble, counts, in addition to the technical and service areas, with 750 m2 of exhibition areas, a store, a splash -bone -bite cafes for a leafy garden and an auditorium with 195 places.

Paula Rego | Magazine | P55.art

In the thesis “House of StoriesPaula Rego: A project by Eduardo Souto de Moura”, Mariana Camara Pestana da Silva Parreira states:“Staying faithful to your convictions,Souto de Moura also recovers at the House of Storytelling Museum Paula Rego, the game between opposites to which it has used to us throughout our career and which occurs, for example, in the choice of red for the outer facades of the entire building, in order to contrast with the green present in the pre-existing vegetation. Another example of this is a relationship between the interior and the exterior, through which ESM seeks to make a contrast between the artificial, being the creation of man, and the natural, made up of surrounding vegetation. On the other hand, the House of Stories Museum represents in our view, a more comfortable approach by the architect to the theme of the windows. Which in times constituted a remarkable difficulty for Eduardo Souto de Moura, appears in this museum as something natural, marking points of relationship between the interior of the building and the outer landscape, meaning in an intuitive way, moments of pause and contemplation of these “landscape frames” suggested by the architect. ”It is also mentioned that in this museumSouto de Moura It associates certain formal devices with a legacy of architectural composition, adopting specific formulas for the insertion of the building in the surrounding area, as well as a use of scale that can be easily contextualized in a very specific type of geography. Its proximity to Raul Lino's work is, therefore, defined in a “southern” landscape, without resorting to any decorative unnecessary or picturesque frills ”.“With this museum,Souto de Moura It develops a form of “modern architecture“ without, in fact, repeating any of the “old models”- according to the ideas defended by Aldi Rossi in his scientific autobiography- evoking timely urban iconography archetypes: towers, headlights, silos and chimneys , like those who define the profile of the Sintra Palace. It is not surprising, therefore, if the “analogy” is continued, that when describing this museum Souto de Moura He also mentioned the pronounced roofs of Raul Lino's palaces, or the idea of ​​a “inhabited chimney”, evoking the kitchen in the Alcobaça monastery. In fact, in its best interpretation, the home of histories can be seen as a “historicist” project a condition that will surely surprise the most faithful followers ofSouto de Moura and will confuse your hardest critics. ”

Souto Moura | Magazine | P55.art

The works of the House of Stories Collection Paula Rego (CHPR)
The House of Stories CollectionPaula Rego (CHPR) It appears in the Portuguese museum scenario in September 2009 and has since been assumed, in the national and international context, as one of the most significant for the knowledge of the artist's work.Consisting of the donation of the artist of all his work recorded and more than two hundred drawings, this collection reflects much of his creative path. The various donations to the museum were held in four distinct periods: the first in 2009 and which originated an essential part of the collection; In 2016, 2019 and 2020 with the assignment to the Museum of the remaining recorded works produced between 2009 and 2020.
The collection also houses thirteen works by private and public collectors as a deposit at the Monographic Museum dedicated to the best known Portuguese contemporary artist: a set of works that has bridged some gaps in the collection and allow a whole vision of the artist's pictorial production of the artist 1960s to the 2000s.

Paula Rego | Magazine | P55.art


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